Navratri has long been a time when artistic expression intertwines with profound devotion. Beyond traditional golu displays, music concerts, and dance performances, it’s a season for artists to reimagine ancient traditions for modern audiences and digital platforms. This year, during the vibrant festival celebrating the divine feminine, the all-women neo-Carnatic ensemble, Pravaham, contributes to this evolving artistic landscape. They present a unique digital rendition of the Nava Durga Stotram, a project that skillfully marries age-old tradition with contemporary technology. These concise, approximately 12-minute reels, will debut on Vijayadasami, allowing audiences to immerse themselves in all nine sacred shlokas via Pravaham’s social media channels.
The spiritual journey commences with an invocation dedicated to Devi Shailaputri, depicted with quiet power astride her bull. Rangappriya Sankaranarayanan, a talented disciple of Embar Kannan, introduces this shloka on the violin, delicately weaving the raga Rishabapriya, chosen for its inherently stable and grounding resonance. Following this, Janani Hamsini Narasimhan (a disciple of Ranjani-Gayatri) lends her voice, conveying the verse with deep devotion and crystal clarity. Aswini Srinivasan (disciple of T.K. Murthy) anchors the performance with a steadfast rhythmic foundation on the mridangam. For the listener, this initial segment offers a compelling yet simple introduction to the goddess’s musical essence, rich with underlying layers of meaning.
Once the initial verse concludes, the storytelling unfolds. Bharatanatyam dancer Kavya Muralidharan (disciple of Muralidharan) beautifully elaborates on the profound meanings behind Shailaputri’s attributes, particularly her unwavering courage and steadfastness. The violin and kanjira accompany this narrative, crafting an evocative soundscape that not only mirrors the goddess’s immense strength but also encourages deep reflection. The shloka is then sung once more, now imbued with newfound understanding and a powerful visual context.
This thoughtful structure extends through the portrayals of the remaining eight forms of the goddess. Brahmacharini, absorbed in severe penance, is musically represented by Tavamukhari (a janyam of Karaharapriya), with gentle violin phrases and subtle percussion mirroring her meditative austerity. Goddess Chandraganta, radiant with the crescent moon adorning her brow, glows in Chandrahasitam (a janyam of Harikamboji), its luminous melodic qualities echoing her brilliance. Goddess Kushmanda, the cosmic creator said to reside amidst the sun’s brilliance, shines brightly in Suryakantham, while Devi Skandamata’s tender maternal grace blossoms exquisitely in Shanmukhapriya. Each raga is meticulously selected, serving as a perfect musical mirror to the divine characteristics embodied in its respective shloka.
As the devotional journey deepens, the musical contrasts become more pronounced. Goddess Katyayani, fierce and unyielding, finds her powerful expression in Shoolini, the raga’s sharp intensity reflecting her formidable martial energy. Devi Kalaratri, the dark and transformative force, emerges hauntingly in Kalavati (a janyam of Chakravaham), mysterious yet utterly captivating. Goddess Mahagauri, serene and luminous, gracefully glides through Suddha Saveri, her tranquil essence captured in every note and gesture. Finally, Devi Siddhidatri, the bestower of all siddhis, bestows her blessings through Siddhasena (a janyam of Karaharapriya), bringing the entire musical and spiritual arc to an auspicious and complete close.
The true appeal of Pravaham’s presentation lies in its intelligently crafted structure. By setting every composition in Adi tala, the ensemble ensures a consistent rhythmic foundation that keeps the listener grounded. Furthermore, the dynamic interplay between the initial vocal rendition, the interpretative narrative-dance segment, and the subsequent repetition of the shloka fosters both profound comprehension and heartfelt devotion.